Courtney Sanchez Art for slide show/power point

Courtney Sanchez Art for slide show/power point

Michelle Andreano, Allentown Art Museum

Steve Gambler, Allentown Art Museum's Preparator, had a multitude of jobs. He worked with the matting, shipping, framing, and even designing shows in the computer. Justs the amount of information and work required to ship and receive items seems like a full time job to me. I couldn't really see myself in that job, given how involved it was in just preparing and setting up shows.

Jane Kintzner, the Associate Director of Education and Programming and the interim Director of Education, showed us the Student and teacher program at the museum. It was interesting how they recycled the décor and even packing crates to create the children's area into a totally new area relating to what was going on at the museum at the time. Her job is the sort of position I could see myself working in, especially since art education is the field I am interested in going into. The

most interesting part of her job seemed to be interacting with adults and children who are interested in the arts, and how inspiring that seemed to be.

Kelly, the art history major from Lafayette College, was an intern who worked with the fabric restoration and conservation, helping out the regular staff while learning the ins and outs of the museum, and I definitely think that I would at some point do something like that. The most interesting part of her job seemed to be interacting and learning from people with so much more experience and knowledge.

Jackie Atkins, the Katie Fowler Murel Smith Curator of Textiles and the interim Curator of Collections and Exhibitions, walked us around the museum for most of the tour. She spoke to us about conserving and working on textiles, storing artwork, and putting up shows. I could see myself in her sort of job (specializing in a field, perhaps ceramics or something) and being responsible for those shows; I know if that were the path I was going to take, it will be farther into the future though.

Michelle Andreano, Five artists in NYC

Of the many Chelsea Galleries we saw, my favorite was the Agora Gallery, at 530 West 25^th St. Of the many artist that had work hanging in the show there, my favorite artist was Pat Kagan. She had oil & rustoleum works on Paper, with bold black lines and strong reds. I loved the play of the black and red in her piece, Initial Crisis. It created a boiling out of control sphere in its strong black lines and red squiggles of action.

The most disturbingly odd pieces I saw were by Barnaby Whitfield, at Stux Gallery (also at 530 West 25^th St.). He had paintings and drawings of women and men, but in odd disturbing settings, or with odd props or animals. All the people he painted were very pale, but then had very reddish pink cheeks and highlights. The one painting had a naked woman holding a gun, with 3 squirrels sitting on the barrel and a background that reminded me of an american flag. On closer inspection, there was a pattern superimposed over the background of rabbits mating. The whole effect of all of the pieces was odd and confusing.

Also at the Stux Gallery was Phantom Landscapes: Installation and Drawing, by Penny Hes Yassour. I loved the installation part of the exhibition. There was what looked like a black fishing net that seemed to have been painted over with a rubber like substance, allowed to dry, and then peeled off; this was then run along the ceiling and hung down in such a way as to create a path for you to walk along and experience the drawings that were on the walls behind and next to it. The lighting used created great shadows through the painted netting.

At Cueto Project, at 551 W. 21^st St., had an exhibit of works by the late sculptor, Bruce High Quality. In it there was a photo of a great model of NYC, with 3 People in the background, obviously representing homeless people; one was sleeping on the 'ground' (ocean in the model) and two others were around a garbage can, burning parts of the model for warmth; in front of the Photo, there were 6 rows of knee high gas pump models All of the work there had a very political feel, commenting on the over development and monotonous design of the city.

At the Met, I gravitated more towards the sculpture and pottery areas in the museum; in the Ancient Greece wing, I found part of sculpture for whom they did not know who had made it, but it reminded me, just in the movement of it, of my own drawings and some of my carved ceramic pieces, and I think that is going to show as an inspiration in my vanity piece.

Michelle Andreano, Jenny Holzer at the Allentown Courthouse

The most interesting thing about the Truisms installation at the Allentown Courthouse was the setting; just that you can find these granite benches inscribed with Truisms, seemingly conflicting truths, was fascinating. Given that people go to court because they have done things that conflict with what government says is against the law or because they have issue with another person's actions, which I think can be seen as people having conflicting morals (or truths!). To find these unassuming looking benches in a courthouse, where many people will interpret them in totally different ways, is a great idea and way to make people thing about what they believe.

Five of my favorite truisms were:

• Elaboration is a form of pollution

• People won't behave if they have nothing to lose

• Drama often obscures the real issue

• Use what is most dominant in a culture to change it quickly

• A strong sense of duty imprisons you

Five of my own follow:

• Trying to please people can make you disappear

• Worrying only makes it worse

• Having faith in yourself is usually foolish

• Deadlines can be a comforting restraint.

• Being your own boss is only works if you're a good leader.

Michele O - Exploring NY galleries

At the Andrew Kreps gallery on 22nd st. I was drawn to the work of Hans-Peter Feldman. His "Camouflage Camera" was very interesting to me because he took a regular 35mm SLR camera and simply splattered paint on it. In doing this, he took something that is used to create art, and turned that into art in itself.

At Pace Wildenstein, Klaus Jorres set up a never-ending race track that was interactive. The viewer could pick up the cars and send them in any direction they prefer, whether they crashed into one another, or went careening down the track and through loops. I always appreciate interactive art because it makes the viewer feel a part of it.

At DJT fine art on 10th ave., it was pretty cool to see a lot of pop art by artists such as Keith Haring, Lichtenstein, Warhol, and Basquiat. While I have seen work by these artists before, it was special, mainly because pop art is one of my favorite genres, to see them all grouped together in one gallery.

At the Whitney museum, I was very interested by the work of Cory Arcangel. In his piece "Supermario Clouds", he had hacked into a video game cartridge run on Nintendo Entertainment system to have the backround of a video game projected on two walls and a television set. It was interesting to see something that is a large part of my generation and popular culture in general (I recognized the clouds as soon as I saw them) turned into a piece of art.

Also at the Whitney museum, of course, was the work of Jenny Holzer in an exhibit called "Protect Protect". I was completely taken aback at the affect her work had on its viewers. Some museum goers entered the room and just stood their in amazement. I found her electronic signs that used LED to convey declassified goverment information to be the most interesting. Everything these pieces said seemed so private, but by putting them in this exhibit, she is showing the whole world. Overall, it was very impactful.

Lauren D. New York #2

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1. Penny Hes Yassour. Phantom Landscapes
Rubber Installation; Many Lengths, very large, Stux Gallery

Rubber-like sculptures hang in the front room of Stux Gallery. Instantly, I was reminded of curtains, dried acrylic paint, and punk rocker t-shirt mesh. The pieces were suspended together while interesting shadows lingered beneath the installation. Visitors were allowed to walk between the hanging “sheets” and evaluate the room. The shadows from the Phantom Landscape resembled clothing patterns that were ripped and destroyed.

Israeli multimedia artist, Penny Hes Yassour, is particularly influenced by nature, politics, and philosophy. NY Art Beat states, “The Israeli landscape has always contained elements of camouflage, not only in the physical and practical sense as employed by the army, but also in the geo-political sense, blurring distinctions between “real phenomena” and its cover.”
Also I found this interesting. Looking through the spaces in the Phantom Landscape, the shadows create a continuous drawing; they exist as a nomadic sight.

2. Barnaby Whitfield Triba[l]ism, 2009, Pastel on Paper, 40 x 30 in

Also represented by Stux Gallery, Barnaby Whitfield surely disturbs yet questions the mind. Imagery and symbolism play a great part in his surreal portraits. Several paintings are of himself and or friends. Terrify images of clowns, zombies, or anyone that could be deceased entered into my personal thoughts. His figures carry an illumious glow or transparency. Along terrifying at first, I became attached and interested to hear what Whitfield was saying. 

NY Art Beat adds, “Whitfield’s characters are rendered in gorgeously soft and dreamy pastel, their bodies glowing with eerie internal light, but perversely marred with sickly hues that allude to bruising, rotting, sweltering flesh.”

3.



Sargent, John Singer
Madame Pierre Gautreau (Madame X)
1884
Oil on canvas
82 1/2 x 43 1/4 in.
Metropolitan Museum of Art, New York

Oh Madame X. What a beautiful painting you are. I sat and drew the painting during our visit to the Met. The angle was quite difficult to draw - especially since people kept walking in-front of the famous painting.

The model for, Madame X, actually was a wealthy woman who commissioned Sargent to paint her portrait. The Met’s blurb also said that after the painting was finished, the model and her parents complained it was distasteful because her dress strap was falling off her shoulder. Sargent was then forced to repaint the model with her strap up.

Madame Gautreau was a socialite who every Parisian man adored. Sargent, an American ex-patriot, often was criticized for painting the beauty in a “snobby” and “revealing” manner.

4.

ZHANG HUAN, Memory Door Series (Afternoon), 2007

Woodcut, mixed media

67 3/4 x 135 1/2 Inches

172 x 344 cm, Max Lang Gallery

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Detailed wood carvings, photo transfers, 3D reliefs, drawings. .. and all on old wooden doors. The artwork was about 5 feet high and 10 feet long. As you stared into the landscape of workers on a farm, you begin to feel the story. Emotions dealing with sadness seep out. An achromatic color choice was only used for the added images within the series, Memory Door Series. The only color was the carved wood from the old doors.

Interestingly enough, while searching through Huan’s website, I realized I have seen his works before. Sculptures of buddhist trapped in sphere globes were shown. Funny how his work reappeared again.

5.

Manet (French, 1832–1883)
Madame Loubens, ca. 1878–82
Pastel on canvas; 17 1/2 x 21 1/16 in.
Collection of Jean Bonna, Geneva

Manet, Manet, Manet. [And no I do not mean, money, money, money. ] I sincerely adore the artist and his style. I have studied his gesture and pastel drawings and still am amazed. Soft, free feeling, and scribbly. The viewer can see his pencil marks and his finger prints. I can only hope to draw as well as this man.

I saw, Madame Loubens, at the Met during the exhibition, Renoir to Raphael. A room filled with artists from Degas, Renoir, Raphael, Manet, and many others from the artist movement, overwhelmed my heart. I must have lived during that time! Who knows why I am attracted to the period. I feel so apart of it.

I wish I could have posted more images, but I am afraid I could not sneak any pictures past those testy guards!